A pain in the neck, a scene of "incest," and other enigmas of an allegorical cinema: Tsai Ming-liang's The River

New Centennial Review

Volumn 4, Issue 1, 2004, Pages 123-142

  Chow, Rey ^a  

^a BROWN UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 70450078802     PISSN: 1532687X     EISSN: 15396630     Source Type: Journal    
DOI: 10.1353/ncr.2004.0018     Document Type: Review

References (9)

1. Gayle Rubin, "The Traffic in Women: Notes on the 'Political Economy' of Sex," in Linda Nicholson, ed., The Second Wave: A Reader in Feminist Theory (New York: Routledge, 1997), 32
2. Howard Hampton, "Rainmaker," Artforum (summer 2001): 162
3. See, for instance, Judith Butler, "Quandaries of the Incest Taboo," in Peter Brooks and Alex Woloch, eds., Whose Freud? The Place of Psychoanalysis in Contemporary Culture (New Haven: Yale University Press, 2000), 39-46
4. Wen Tianxiang, Guangying dingge: Tsai Ming-liang de xinning changyi (Taipei: Heng Sing, 2002)
5. For a thorough discussion of Tsai's noticeably high-modernist techniques, see Chang Aizhu, "Piaobo de zaiti: Tsai Ming-liang dianying de shenti jüchang yü yüwang changyii," Chungwai Literary Monthly 30, no. 10 (March 2003): 75-98
6. See, for instance, the reference to the meaning of the family as being disintegrated, eroded, etc., in Wen Tianxiang, Guangying dingge, 134
7. Chang, Guaitai jiating luomanshi, 134; the English word is used in the original
8. For this suggestive piece of information, see Wen Tianxiang, Guangying dingge, 159, 227
9. Chang Hsiao-hung, Guaitai jiating luomanshi, 137; my translation from the Chinese